Para One AKA Jean-Baptiste de Laubier is one of France’s most progressive and forward thinking electro/beat artists. Usually associated with the likes of Surkin (and before that French rap upstarts TTC), they created the Institubes label, which fired Para’s glitchy, high octane sound into the global blogosphere through singles such as Epiphanie, Clubhoppn and more. Now in preparation for his appearance at the Neon Noise Project at Heaven on the 26th May alongside Aeroplane, Surkin and more – and in the shadow of his new album ‘Passion’ – we’re delighted to have the hip hop obsessed artist mix us a prime selection of cuts, including new numbers from Justin Martin, Zombie Disco Squad and Sei A among others. Get familiar and get your wiggle on!

Click here for tickets for NeonNoise Project at XOYO

It’s a selection of old and new stuff that I like to play at the moment… With a few exclusives!

And in addition to the interview, Bill Patrick also honored us with a mix of great quality. If you enjoyed his back to back set with Shaun Reeves recorded at the Beatport headquarters few months ago, no doubt that this podcast will please you as well. Bill thus confirms his reputation as an outstanding DJ and record digger, the kind of guy who could easily mix the latest Little Helpers release with an obscure house gem from out of nowhere… « Deep is the new cool. »

Swiss beats.

Deetron: A name you can depend on. The Swiss DJ and producer has been in the house and techno scene since the mid-’90s, and he seemingly hasn’t put a foot wrong at any point. Whether it be his exceptional three-deck mixing or his elegant productions for label home base Music Man, Sam Geiser is the definition of consistent. Of late, however, Deetron has been outdoing himself a bit. Last year’sStarblazer single for Rejected was one of the most charted tracks of 2011 on Resident Advisor, while his two-disc mix for Balance showed that he’s just as comfortable mixing digital as he is analogue.

Deetron describes RA.312 as “relentless,” and we’re inclined to agree with him. It’s more than 70 minutes of bangers, new and old, fit together by one of the world’s foremost jocks.

What have you been up to recently?

I’ve been touring on the weekends while catching up with my job as a houseman during the week. Apart from that I tried to make use of every free minute to work in the studio. I’ve got a new single coming up for Music Man with Andy Butler from Hercules & Love Affair on vocals, which should finally be released in June as we’re still waiting for the last remix. Other than that I’ve been working on remixes for Steve Kotey and Andy Meecham on Classic as well as Cocolores on Exploited.

How and where was the mix recorded?

The mix was recorded in my studio using decks and CDJs. I’ve edited a few of the tracks beforehand, but recorded the final mix live using the aforementioned equipment.

Can you tell us about the idea behind the mix?

The idea was to create a relentless, captivating, upbeat and danceable mix, which includes the main four musical elements of my DJ sets: My love for melodic techno, my obsession with bass-influenced house and techno, my soft spot for disco and my craving for good vocals. Furthermore the intention was to include older records, which have been favorites of mine over many years and to revive them in a modern context alongside new tracks.

Has living in Bern had much of an effect on your music do you think? If so, how?

I don’t think it had an immediate influence on my music, but the quiet atmosphere of the city and distance from the epicentres of house and techno have helped me to stay focused and down to earth and not to be influenced by trends or hypes.

What are the crowds typically like in Switzerland? 

They are musically well-educated, rather open-minded and while they might not be as outgoing as elsewhere normally, I’ve experienced very enthusiastic crowd reactions in clubs around Switzerland recently.

What are you up to next?

I will be working on my own material exclusively for the next few months and I’m getting ready for a rather hectic summer this year.

I´m neither afraid of showing my emotions nor to include them in my music

Stimming

Few people bring a truly original sound to house music. It’s all very well making some nice grooves and working the dancefloor, but when it comes to longevity and leaving an indelible mark on the genre and the wider musical sphere, you’ve got to bring something new to the table. At a relatively young age, Hamburg’s Martin Stimming did just that, demonstrating a sophisticated yet accessible sound
that’s beyond his years.

I want people to see me as an evolving artist, where you never know what exactly you get – but you know that it’s Stimming.

The elegance of his productions is rooted in his classical training in his native Germany. Born in Giessen in 1983, he became highly accomplished at the violin, piano and drums by the age of 10, giving him a solid and well-rounded musical education and ability, and an intimate understanding of music theory. His first electronic obsessions took hold when he was 15, discovering the joy of sampled breaks and beats through the likes of DJ Krush and Grooverider, and a year later when living in Butzbach (not far from techno hub Frankfurt) he fell under the spell of DJs like Sven Väth of Chris Liebing and began hoarding vinyl. It was around this time that he began producing music with a computer – something he soon realised was his “destiny”.

I think if more producers would include their own mind and feelings into their music the whole scene would be much more flavoured and diverse which would be good for all of us…at least in an entertaining way.

With his future path clearly in mind, Stimming moved to Hamburg aged 19 and enrolled in a Electronic Music Production course at the SAE Institute, followed by a studio internship. By 2006 he was producing bubbly deeper techno as one half of Gebrüder Ton, and around this time he met two guys named Solomun and Adriano, who shared a similar take and viewpoint on house and techno music. These two new acquaintances set up their label Diynamic Music in the same year, and soon Stimming was producing and releasing music and collaborations on the nascent imprint, building himself the musical family that he had longed for – and launching his solo career under his own surname in 2007. His breakthrough hit, 2008’s Una Pena, made the electronic world sit up and take notice, and before long acclaimed labels like Freerange, liebe*detail, Buzzin’ Fly, Green and Poker Flat were snapping up his work. 2009 saw him release his immaculate debut album Reflections to great acclaim, cementing his reputation as one of the most exciting new producers of his generation.

Probably every track normally has at least one sound that is completely out ofcontext, but tweaked and smashed in a way that it fits.

Amidst a sea of mediocre similarity in dance music, Martin Stimming’s work stands out as truly different. His productions are filled with a multitude of his own unique, charismatic field recordings, and he never uses the same sample more than once. Nothing is sacred; sources of sound in his productions have included a Coke can, a coffee machine, children’s toys, keys, marbles, a rubbish bin, loose change, tube train breaking systems and doors and an Ikea pizza cutter. His intricate beats and rhythm are testament to his long-running drumming skills – which in recent years saw him play live drum kit beats on top of frenetic drum and bass DJ sets in German clubs – and his music conveys a strong range of emotions within the limitations of deeper house and techno music.

You just can’t get that type of material out of a synthesizer. And I’m also able to, in a way, morph the listener into the atmosphere I had when I recorded it. And depending on how much I tweak it afterwards it can be a very natural ‘on this earth’ kind of feeling, or the exact opposite.

But it’s not all about 4/4 kicks and dancefloor mentality; as his stunning second album Liqourice demonstrates. Produced with pleasing no-one but himself in mind, it eschews the normal kick-clap/snare template by and large to explore more interesting and progressive territories, but always with that trademark magpie-like sense of texture, emotion and discovery. It’s an album to expand his remit beyond the constraints of the dancefloor and into the wider realms of beautiful electronic music.

I called it Liquorice because I simply love real liquorice sweets, and I have realised that it’s something someone loves or hates. There’s not much middle ground, and there were probably 50% who like it and the others don’t.

2010 saw him pick up an award for Best Newcomer at the Ibiza DJ Awards, following on from his live show (Stimming doesn’t DJ) stunning the crowds at the island’s legendary Pacha, and the finest danceries around the world – from Berlin’s Panorama bar to Sao Paulo’s D-Edge, Brussels’ Fuse, London’s Fabric and Paris’ Rex, and plenty more beyond. Remixes for the likes of Sascha Funke, Claude VonStroke, Marc Romboy and Stephan Bodzin and Robert Babicz to name but a few have further spread his influence amongst the discerning house and tech community, and cemented his reputation as one of the scene’s most exceptional producers. Clearly, Martin Stimming is a precious talent indeed.

It’s time for some visions, for future sounds and audacious compositions. It isn’t essential how everything started. Einmusik became a unique producer over the last 10 years with non-traditional sounds, which made him to a sought-after artist in the modern electronic house establishment.

The first album “De’ Medici” was a high class mixture of Einmusik sounds which are reflected in the shows of Samuel Kindermann, based in Berlin and by now well known for his energetic and fascinating style. He is one of these rare entertainers in the major circuit, embracing the crowd with emotions and style.
Now it is time to bundle up the mutli cultural impressions from over 200 shows and journeys all over the world. The new album “Oceans Bottom” will show you new dimensions of future sounds with strong melodies and the deep impressing game of beats and claps. Einmusik is influenced by Russian buildings and folk songs, the 80`s Synths and Berlin sunrises. You will find all these impressions on “Oceans Bottom” packed in multidimensional and catchy sounds.

The production work finds outlet on Samuels superb Einmusika label, which he runs on a daily basis, constantly refining and developing his signature sound. With this imprint he is also providing a platform for a growing number of budding new producers and their musical output.

Pay close attention as Samuel brings all things of Einmusik to a soundsystem near you whether it is from the studio, his label or the stage! The man is on a mission!

This podcast epitomises Sasse as a DJ and a label boss. ENJOY!

Prepossessing the ability to effortlessly maneuver through the realms of house and techno, as dawn breaks over 2012 the many facets of Tim Green’s production dexterity is casting reflections in innumerable directions, illuminating a musical and thought-induced excursion on which the 27-year old is embarking.

Experimenting across the spectrum of electronic music, whether putting out reverberating minimal techno of Amnesia peak-time kind-of-measures, or sprinkling some of that unmistakeable TG charm over productions of popular appeal, his work is stamped by ingenuity, fearlessness and fun – which also granted him the ‘Best Breakthrough Producer’ award at DJ Mag’s Best of British in 2010.

After fully bursting onto the scene in 2008 with modern classics ‘Revox’ and ‘Mr Dry’ snapped up by highly-revered Dirtybird and Trapez Records respectively, and picking up support from top players such as Sven Vath, Richie Hawtin and Luciano along the way, Tim swiftly catapulted himself into the upper echelons of the techno hierarchy. A string of high profile releases followed in short succession adding Cocoon, Get Physical, Saved & Four:Twenty to an already impressive back catalogue, as well as remixes for XL Records, Sci+Tec, Moshi Moshi and Souvenir.

With an idiosyncratic groove and off-kilter cheekiness his sound has seen him tour the electronic bastions of the world, including Space – Ibiza, Womb – Tokyo, Fabric – London, Sankeys – Manchester, Watergate – Berlin, D-edge – Sao Paulo, Electric Pickle – Miami, WHP – Manchester, Bestival – Isle Of White, SW4 Festival – London, Zouk – Singapore, Rex Club – Paris. As we are heading into 2012 Tim makes a welcomed return to his underground roots, captivating crowds in more intimate yet discerning settings, along with heading up his own night Bedlam, which is currently on everyone’s lips.

On the production side of things 2012 is already looking like another stella year with
with a dark and twisted remix of Sacha Robotti ft Qzen’s Fotograf on Klasse Recordings and, following on from last year’s ‘In Love EP’ on Get Physical, he has teamed up with Robert Dietz & Audiofly for a remix package due for release in April. This summer will see him return once more to Cocoon to release the outstanding ‘Curious Smile’, plus an EP for Get Physical and remixes for Supernature & Oh Yeah Records, as well as putting the finishing touches to his much anticipated debut artist album.

Taking into consideration the achievements Tim has reached in the span of merely four years, it is a gathered electronic community that awaits his next move, Where to next?

One of electronic music’s best-loved artists brings the heat.

There aren’t many examples of artists who are equally as comfortable crafting esoteric minimal techno as they are standing on stage fronting a band. Having been active on the scene now for over a decade, Texas-born artist Matthew Dear has come to enjoy a ­­­­unique standing within electronic music by pursuing each of his sonic interests with equal vigour. Ghostly International and its club-orientated offshoot Spectral, the imprint Dear co-founded with Sam Valenti IV at the end of the ’90s, has been the platform for most of these explorations. Countless 12-inches either under his own name or as Audion—the alias Dear frequently donned to delve into more rank strains of techno—have been put out through the label, while Minus/Plus 8 was also a regular home for his False moniker during the mid-’00s. It was in 2007 that Dear made the formative steps towards the artist we now know. The warmly receivedAsa Breed album saw Dear stepping out front and centre with his Big Hands band, turning to an electronic pop sound which would continue three years later on the equally as impressive Black City.

Dear says below that he “didn’t want to think about trends” when recording RA.306, and the result is a mix that, true to his word, sounds suspended between time and genre; music from DJ Bone, Planetary Assault Systems, Radio Slave and Gemini help him achieve this goal.

What have you been up to recently?

I have been doing some intermittent touring with my new band. We are a five-piece now. My next album is finished. I wrote a new song called “Ribbons (I Don’t Think About It Too Much)” that I want to put on the album, but will probably wait until the next album. I shot a video in Los Angeles for the first single from my new album. I just walked my dog and it was a lot colder than I hoped it would be. I played a Leftrooom party last night with the lovely Laura Jones and Matt Tolfrey. After my soundcheck, I walked in the rain up 10th Ave. to W. 58th. I made a right and met Miguel at Blue Ribbon Sushi. We both had uni. He did not try the wakame salad.

How and where was the mix recorded?

I wish I could tell you it was recorded live at the Liquid Room in 1996, but it was recorded in my studio using a combination of: Ableton Live, Traktor, an Elektron Octatrack, a General Electric tape recorder (but only for the dusty mic), Eventide guitar pedals, and a few voicemails from my phone.

Can you tell us about the idea behind the mix?

I wanted it to be a bit more grainy and raw than what I usually play. I knew I wanted to include some legends in there (DJ Bone, Alvarado for example). I didn’t want to think about trends, lack of trends, this or that, or any second guesses. I went through a collection of folders as I would on any given show night and just went for it. I wanted it to be as unadulterated and straight-forward as possible, you know, not letting myself get in the way. I plugged in the dirty mic and used my voice on parts of it.

You mentioned in a recent interview that after some experimentation you’d “found your live sound.” What did you mean by that exactly?

I am always looking to better the music I perform live. There is always room for improvement, whether it be in the way you EQ your tracks for various sound systems, the type of processing equipment you bring out to improve your vocals, the microphones you’re using, the placement of the band on stage to better suit the audience’s perspective. These types of things never get completely figured out, only because there is always something new to try. It’s kind of like how they will never be finished painting the Golden Gate Bridge. Once they get to the end, the other side needs to be repainted again. I’ll never truly find my live sound, but I won’t ever stop searching for it.

Are you still writing music as Audion?

Yes, more and more ideas as Audion have been fermenting themselves in the studio. All it takes is a great night DJing, or hearing a new track that just blows my mind, and it shows me that there is still so much to be accomplished with dance music. Aside from all the focus on parties, charts, technology, Grammys, rave festivals and what not, it’s beautiful when it’s just you in the studio and an idea. STL tracks take me there. Those two Planetary Assault System songs on my mix make me feel that way too.

What are you up to next?

Work.

Ed (GTC) has been wanting to feature the sound of this fellow Parisian for a while now. The release of his latest album provided the perfect opportunity. Raw Instrumentals is a collection of beats crafted on Phil’s beloved MPC 3000, unrivaled thanks to its unique swing and filters. Samples of disco, funk and hip hop persuasion are chopped up and bound together with flair and the result is a large amount of dope tracks tailored for the warm season and those decadent House parties where house is spelled with a capital H. Check it out, sure you’ll find more than a few tracks you’ll get addicted to.

So here’s a two hour set recorded in Phil’s home turf, at the riverside establishment known as Le Showcase. GTC has  graciously been supplied with a track list for the first half of his set, so trainspotters can still do their thing in the comments.

Still quite close to the French label Get The Curse, he will soon sign a four-hand remix with his ladClement Meyer, just before a solo EP scheduled for this summer. Without forgetting his forthcoming remixes for Slove on Pschent, and Nebes on the German label Limikola, we will make you wait until all these sweets with this podcast, that he qualifies as “short but intense, more orthodox than the usual but also more downright.” “A blend of my most played tracks of these last few months.” The mix is neat, the intro/outro quite remarquable and the outcome is obviously club and catchy, but savoury enough to be delighted under the sunlight or in your living room. Roughly, this is dope shit.

As far back as 1997, as a 16 year old, his first girlfriend took him to an underground techno party. From that point on, he started fiddling around with music on an old turntable in his shared flat in Templehof. “The slipmat was made of old newspaper“, he recalls, grinning. Two years later and Bader was already making his first appearance at the original Tresor in Berlin, which turned out to be a resounding success. The experience gave him a taste, but that wasn’t all. Soon, with some friends, he formed “Max and Moritz“ and started promoting parties, including the legendary “Karneval der Verpeilten“ (Carnival of the Wasted!), and the “Jelly“ parties in the old Casino courtyard. From there is wasn’t much of a step towards music production. Many successful releases with labels such as Kindisch, Saved and Get Physical Music have followed, and recently Bader even lauched his own label, called “Danzte“, which he runs together with buddies Niconé and Sascha Braemer.

In 2010, Bader also became a part of the Highgrade Records family. In the cosmos of Berlin record labels, Philip Bader’s creative voice is unmistakable: He uses imaginitive and haunting vocals within a deeper and more minimal style, while retaining an audible sence of looseness and enjoyment in his genre bending output. From the expansive wardrobe of his musical history comes an endless energy. No wonder really, given his own broad set of influences from The Doors and Led Leppelin, through to Bob Marley and De La Soul. Bader also draws inspiration from current acts like The XX, James Blake and Radiohead: a rich, diverse and unending taste in music, to be tested through the impressive variety of influences on his debut album, “Wishful Thinking“.

Bader’s role in the Highgrade Disharmonic Orchestra is another vivid feather in his cap. An electronic jam session, which has achieved success not just though their live performances, but also with a string of well recieved releases. But for Philip Bader it was never just a quest for success: “When you love doing something, there’s absolutely no question – you can consider yourself lucky if success comes along with it.“ To decide between being a producer and a DJ would be impossible for Bader. For him, the two go hand in hand. In his life behind the turntables, he is fascinated by the opportunity to travel and constantly meet new people.

In the studio it is above all else, the creativity which drives him, and the speed at which ideas are born: “I’ll have a groove or a sample in my head, try something out, play around and when the sound fits it seems to tell the story of a track all on its own.“ he explains. The same is true when he produces music without any particular genre, you have to know what works on the dancefloor.. “and give the music it’s own signature sound“. That, for Philip Bader, has never been in doubt.

Still little involved in music production, Julietta has had plenty of time to perfect herself as a DJ…And we can say that all these years of work have paid off, because her podcast for Trace A Line is a superb selection of house tracks brought straight out from her personal vinyl collection. The key word is love.

Just a guy who discovered doing music is the perfect excuse for partying every weekend and not having a real job? Hardly.
Already when being a teenager, living far out in the german countryside, Andre Crom got intrigued by House and Techno as an exciting and irresistible escape from the boring surrounding he faced. Mid-90ies-dance and house left a strong mark on his taste which prevails until today.
The call of music led Andre into a career in electronic music spanning over 10 years, starting out as journalist interviewing heroes like Masters At Work or Mel Cheren of West End Records, continuing as booker and developing his dj skills at countless of gigs. In 2008 Andre Crom finally moved to Berlin and since then works fulltime as labelmanager, music producer and dj.
His label „OFF Recordings“ belongs to the most popular imprints of its kind, its releases getting good feedback and plays from virtually any dj with a taste for good house music and regularly entering high chart positions in the leading vinyl & digital stores; „OFF SPIN 03 – Thyladomid – The Voice“ held the Beatport Deehouse Chart # 1 position for many weeks to name just one example. Crom’s coproductions with Martin Dawson „Gonna Be Alright“, „In the City“ or „About You“ were instant hits on Decks, Beatport and Resident Advisor as well.
However, Andre Crom’s love for house music becomes most evident on his gigs, playing a mixture of own productions, hard-to-find oldschool gems and carefully picked current releases, always groovy and 100% focused on the floor.

Anthony Collins is a figurehead for underground house and dance music fans everywhere. His gorgeously rich and musical house productions have made their way onto the likes of respected labels such as Curle, Ibadan, Darkroom Dubs, Robotronic and his own label Scissor & Thread. Anthony will be joining forces with DT for an Easter Weekend of parties, starting off in Manchester’s Joshua Brooks on the 5th April and culminating with a show at our East Village residency on April 7th. Get busy and check out the Frenchman’s exquisite selection and ability before he plays for us, as he takes us on a journey through the most underground and diverse of house music..
Sum up this podcast in 10 words… 
Typical Collins style – deep, slow, but with enough drive to get things moving just the way I like it

What’s your personal favourite track on it ? 
Jorge Zacamoto on Mosaic records, it’s a very rare vinyl which never leaves my bag

What’s the special ingredient in this mix ? 
A lot of my own unreleased material – My upcoming release from my new project called Frank & Tony (last track of the mix), to be released on my label, also called frank & tony, a platform dedicated to only to our releases. (frank & tony is Francis harris and myself) Plus a couple of tracks from another new label we are starting called Natural History, which is more club oriented

What’s the best gig you’ve played recently ?  
My Scissor & Thread label showcase at the Marcy Hotel NYC. It was just whaoooooo!

What have you got coming up? 
Lots of music from Frank & Tony. Then also working on the future releases on Scissor & Thread by amazing new acts such as Francis Harris, Black Light Smoke among many others…

And finally, do you have a special message for our readers ?
I hope to see you all at the Data Transmisson parties, as a recorded set is always different from a live one in club context hehe J

Welcome to the future; an age where machines make everything simple, a time when the human need not exercise skill or original thinking where a computer can do the job instead. This philosophy applies to so many aspects of life, but perhaps none more so than dance music. When presets, sample packs and templates prevail, where is there room for expression, for personality, for danger? Thank your lucky dancing shoes then for artists such as dOP – three vibrant personalities with the musical abilities to express themselves in the most unique and human of ways.

It may be that you stumbled across their early singles when they were still defining their sound in the realms of house and techno, finding a way to translate their respective gifts for percussion, woodwind instruments and a honey-coated voice into something that made sense on the contemporary European dancefloor. It may be that you got swept up in one of their incendiary live sets, where the art of genuine performance in the here and now blasts any notion of ‘email-checking’ laptop nerds out of the water in a melee of joyous, raucous party energy. Either way, it would be a particularly blinkered electronic music fan that could have missed them up until now, for the release and gigging schedule of these three childhood friends would make a mere workaholic blush.

dOP have certainly been recognized for their services to the beat, as revered German magazine De:Bug listed their debut album ‘Greatest Hits’ as one of the best of 2010, while they were championed for their live show three years in a row by readers of Resident Advisor. However, dOP’s work doesn’t stop at the end of the night, as their other projects belie.
With another vocalist, Brian Brewster, they have started the Aquarius Heaven project. Where the music of dOP whips around in a flurry of jazzy moods and a very French sense of mischief, Aquarius Heaven explores the depth and space of dub-rooted music. There is still a dancefloor sensibility at play here, but it’s the vibe that draws you inwards rather than the one that pushes you outwards.

If ever proof was needed of the diversity that comes with a group like dOP, their latest venture Les Fils du Calvaire would be it. Rejecting the notion of dance music completely, the trio will be joined by an additional drummer and guitarist for a purely folk-led project, with all the lyrics sung in French. Whatever the boundaries are, that same flair that makes their other output so addictive will be present in abundance.

It’s surprising to think that it was only four years ago that dOP first crept onto the scene with their flamboyant style of house music, so much have they achieved in the time that has passed since. Yet it’s also heartening to know that there is so much more to come from three unstoppably creative minds that combine the awkward bedfellows of serious musicianship and fun so naturally.

Both in his productions and mixes Maxime Iko seems to be constantly seeking the perfect balance between dark-tinged house and techno, and you’ll see it soon enough by listening to this 2-hour podcast that he recorded for us, including classic tracks by Maetrik, Scratch Massive, Tomas More and so on…

Ahead of their hotly anticipated appearance at Get Lost 7 party at The Electric Pickle in Miami, Alex Fish speaks with the duo about their recent success and studio pairing.

Last summer, Funkalicious James’ edit of Janet Jackson – That’s The Way got rinsed on the floors and beaches worldwide by anyone in the know from Soul Clap to Till Von Sein.

Funkalicious James is also one half of the Childhood ‘87 project with Le Loup – their edit of “Caught Up” on our 2nd Aux-Rec 12? outing made some serious commotion in 2010.

This year, he comes back with a full EP for Airdrop. Due out in the spring, it also includes stormer remixes by John Spring and Douze, who just dropped a really hot one on Le Loup & Seuil’s Hold Youth. Funkalicious James will be playing this weekend on Saturday, February 11th, at Airdrop’s winter shindig in Paris.

Having first appeared with a track on the wonderfully inimitable Tsuba Records, Moodtrap’s releases will be for Kevin Griffiths’ imprint exclusively. The debut EP, ‘Body To Body’ unveils four accomplished, underground house tracks. Displaying an old school energy and an utterly charming rawness, the guys have got their new alias off to a flying start. Their follow up, the ‘Make It Right’ EP sees the duo delving into the various different sides of their masked personalities. Through three new productions, the pair explore a heady concoction of bass driven techno, indulging their dubbier aesthetic before touching on the sounds of bassline and even garage.

The thing that really excites about this project though is being able to watch this masked identity grow through their own vision, never having to relent to outside pressures. The creativity stems from the duo and Tsuba themselves and nothing more. Nothing can stifle their creative process and that surely gives Moodtrap the potential to be truly innovative and create something special.

First own releases promptly showed up in the boxes of international big names. Though Patrick never liked to be pigeonholed, which he perfectly underlines with his productions for labels such as Sven Väths’ Cocoon Recordings, Anthony Rothers’ Datapunk, Puzzle Traxx, Sounderground, Tanzbar, Turbo, Great Stuff, Trapez, Traum, Treibstoff, Kling Klong and Session Deluxe. Especially his remixes for artists such as Guy Gerber, Shlomi Aber, Gregor Tresher, Steve Lawler, Chris Fortier, Gui Boratto, Ramon Tapia, Martin Eyerer, Extrawelt etc. show his status in the current electronic music-scene.

2005 he created himself his own little Traumraum (the german word for Dreamroom), which is not only the name of his production studio, but also the name of his event series @ venues such as his long-term Stuttgart based resident club Climax Institutes. His current releases and remixes perfectly mirror, for what Patricks name stands nowadays – hypnotic Tech House with good portion of soul.